Beauty and the Beast 



(La Belle Et La Bete) 




Caroline W. Thomason 



The Penn Publishing Company 



Successful Rural Plays 

A Strong List From Which to Select Your 
Next Play 

FARM FOLKS. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. For five male and six female characters. Time 
of playing, two hours and a half. One simple exterior, two 
easy interior scenes. Costumes, modern. Flora Goodwin, a 
farmer's daughter, is engaged to Philip Burleigh, a young New 
Yorker. Philip's mother wants him to marry a society woman, 
and by falsehoods makes Flora believe Philip does not love her. 
Dave Weston, who wants Flora himself, helps the deception by 
intercepting a letter from Philip to Flora. She agrees to marry 
Dave, but on the eve of their marriage Dave confesses, Philip 
learns the truth, and he and Flora are reunited. It is a simple 
plot, but full of speeches and situations that sway an audience 
alternately to tears and to laughter. 

HOME TIES. A Rural Play in Four Acts, by Arthur 
Lewis Tubbs. Characters, four male, five female. Plays two 
hours and a half. Scene, a simple interior — same for all four 
acts. Costumes, modern. One of the strongest plays Mr. Tubbs 
has written. Martin Winn's wife left him when his daughter 
Ruth was a baby. Harold Vincent, the nephew and adopted son 
of the man who has wronged Martin, makes love to Ruth Winn. 
She is also loved by Len Everett, a prosperous young farmer. 
Whin Martin discovers who Harold is, he orders him to leave 
Ruth. Harold, who does not love sincerely, yields. Ruth dis- 
covers she loves Len, but thinks she has lost him also. Then 
he comes back, and Ruth finds her happiness. 

THE OLD NEW HAMPSHIRE HOME. A New 

England Drama in Three Acts, by Frank Dumont. For seven 
males and four females. Time, two hours and a half. Costumes, 
modern. A play with a strong heart interest and pathos, yet rich 
in humor. Easy to act and very effective. A rural drama of 
the "Old Homstead" and "Way Down East" type. Two ex- 
terior scenes, one interior, all easy to set. Full of strong sit- 
uations and delightfully humorous passages. The kind of a play 
everybody understands and likes. 

THE OLD DAIRY HOMESTEAD. A Rural Comedy 
in Three Acts, by Frank Dumont. For five males and four 
females. Time, two hours. Rural costumes. Scenes rural ex- 
terior and interior. An adventurer obtains a large sum of money 
from a farm house through the intimidation of the farmer's 
niece, whose husband he claims to be. Her escapes from the 
wiles of the viltain and his female accomplice are both starting 
and novel. 

A WHITE MOUNTAIN BOY. A Strong Melodrama in 
Five Acts, by Charles Townsend. For seven males and four 
females, and three supers. Time, two hours and twenty minutes. 
One exterior, three interiors. Costumes easy. The hero, a 
country lad, twice saves the life of a banker's daughter, which 
results in their betrothal. A scoundrelly clerk has the banker 
in his power, but the White Mountain boy finds a way to check- 
mate his schemes, saves the banker, and wins the girl. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



BEAUTY AND THE 
BEAST 

LA BELLE ET LA BETE 



A Play for Children in 
Six Scenes 

arranged to be given 
in English or French 



By 
CAROLINE WASSON THOMASON 

author of 

" Cinderella," " The Three Bears," " Red Riding 

, Hood," " Bluebeard " 



f 



THE PENN PUBLISHING COMPANY 

PHILADELPHIA 
1921 



> 4J 



•/: 



COPYRIGHT 
19 21 BY 

THE P£NN 
PUBLISHING 
COMPANY 




Beauty and the Beast 

La Belle tt la tint 



TMP96-006632 



'CI.D 57 134 



m {7iS2 



****.* 



BEAUTY AND THE BEAST 

LA BELLE ET LA BETE 



CHARACTERS 



Personnages 



BEAUTY 

THE BEAST, THE KING 
THE MERCHANT 
THE GOOD FAIRY 
THE TWO SISTERS 
THE THREE BROTHERS 
THE SPRITES 



La Belle 
La Bete, le Roi 
Le Marchand 
La Bonne Fee 
Les Deux Soeurs 
Les Trois Freres 
Les E sprits 



TIME OF PLAYING 



Forty-five Minutes 



Six Scenes tell the Story: 

I. The Beast's Garden 

II. Before the Merchant's House 

III, IV, V, VI. The Beast's Garden 

3 



COSTUMES, ETC. 

beauty. Scene II, dress of coarse, gray ma- 
terial, held at the waist with bright red cord, 
wreath of crimson wild flowers in her hair. 
Scene III, first long dark cloak, and close-fit- 
ting hood; same dress as Scene II, when she 
removes her cloak, the Beast's rose in her hair. 
Scene IV, same as last of Scene III. Scene 

V, gorgeous evening gown, jewels, hair beauti- 
fully dressed. Scene VI, black velvet dress, 
green silk half-coat, thrown open, pearls, white 
stockings and black velvet slippers. 

THE beast. Scenes I, III, IV, V, and part of 

VI, grotesque make-up representing huge ani- 
mal — head large, eyes small, ears long, snout 
long; the body may be either the skin of some 
animal, or may be made of some heavy ma- 
terial like burlap with great black and red spots 
painted on it. The tail long and bushy at the 
end. A great spiked collar about his neck. 
Last of Scene VI, he slips off the beast robes, 
and appears as the king in green tights and 
jacket, green stockings, black pumps, black 
sash, crown. 

4 



the merchant. Scene I, rough brown coat and 
trowsers, coarse black shoes and stockings, 
slouch hat with worn red and green sash. He 
is carrying a brown bundle, and walks with a 
staff. The Fairy leaves a fine velvet coat for 
him in the place of his shabby one. Scene II, 
same as Scene I, but wearing the velvet coat. 
Scene III, same. Scene IV, dress coat in black, 
silk knickerbockers, black shoes and stockings, 
very high black silk hat with several white 

plumes. 

THE good fairy. Silver crepe paper dress, wings 
of same, spangle decorations extending from 
high crown to wings, and ending at ankles, 
white stockings, slippers covered with tinfoil, 
wand covered with tinfoil. 

the TWO sisters. Scene II, dresses of coarse, 
gray material, held at the waist with bright 
cords. Hair plain. Scene VI, evening coats, 
high headdresses with many brilliants. 

THE THREE BROTHERS. SCENE II, rough brown 

coats and trowsers, heavy shoes and stockings, 
bright green caps with feathers. Scene VI, 
military costumes, high helmets, swords, bright 
stockings. 
THE sprites. Short, white dresses, bare arms, 
spangle decorations, white shoes and stockings. 



B 



PROPERTIES 

SCENE I. Table set with plate of small cakes, 
and glass of water. Velvet coat 
for Fairy to bring in. Roses, 
red one for the Merchant to pick. 
Devices for storm. 

SCENE II. Screens. 

SCENE 111. Table set with two small plates, cen- 
tral dish of fruit and nuts. 
Guitar, placard bearing inscrip- 
tion " Souhaitez, Commandez : 
Vous etes ici la dame et la mait- 
resse," mirror. 

scene IV. Table set again with fruit and nuts. 
Guitar and mirror. 

SCENE V. Guitar and mirror. 

scene VI. Mirror, and crown for La Belle. 
Victrola. 

MUSIC 

The music to " Clear the Moon Is Shining " 
{An Clair de la Lime) may be found in " French 
Rounds and Nursery Rhymes," published by G. 
Schirmer, New York City. 

Suitable marches and dances for the Sprites may 
also be found in " French Rounds and Nursery 
Rhymes." See pages 23, 46, and 49. However, 
any lively march music may be substituted. 

6 



SCENE PLOT 



scene I. In the Beast's Garden. Entire wall 
space covered with greenery. Roses inter- 
woven here and there. A palm tree near the 
center of the stage with a garden seat beneath 
it, and small table under its shade. Clump of 
shrubbery well to the front, and to one side. 
Grass strewn about, couch. 

<sc£a/e plot 



BANKID UP W/TH GREENERY 



TABLE. 





<5HRUBB£R Y {^V3> V^V 



The above represents a simple setting that 
can be easily arranged for the Beast's garden, 
where all the scenes, except the second, are laid. 
SCENE II. Before the Merchant's house. Use 
screens to hide the garden setting of the 
Beast's garden. The Merchant's sons and 
daughters are posed against these screens at 
the rising of the certain. 

7 



BEAUTY AND THE BEAST 
LA BELLE ET LA BETE 

SCENE I — The Beast's Garden 

Time — Late in the Evening 

(the merchant, returning home from an un- 
successful business trip, is overtaken by a terrible 
storm. Sound of thunder and storm outside. 
Victrola, and metallic device, such as tin pans, 
horns, etc. All calm and peaceful in the garden. 

{Enter THE merchant dripping with rain, and 
staggering from exposure. Sinks on garden seat, 
recovers himself. ) 

the merchant. I am lost, the storm is rag- 
ing ! I am very cold and hungry. How pleasant 
it is here out of the storm! 

Je me perds, la tempete rage! J'ai bien froid, 
et bien faint. Qu'il fait bon ici hors de I'orage! 

(Arises, goes about garden. Sees tables cov- 
ered with napkin. Sniffs, lifts napkin.) 
9 



BEAUTY AND THE BEAST 

There is good food, and I am almost famished. 
Voila de bons vivres, et je meurs presque de 
faim. 

{Waits restlessly for awhile longer.) 

The master of the house, or his servants will 
pardon the liberty that I have taken, and without 
doubt they will return soon. 

he maitre de la maison on ses domestiques me 
pardonneront la liberte que j'ai prise, et sans doute 
ils viendront bientot. 

(Clock strikes eleven.) 

It is eleven o'clock, and I see no one. I am go- 
ing to eat. 

// est onze heures, et je ne vois personne. Je 
vats manger. 

(He eats ravenously.) 

I shall lie down, and perhaps sleep. 

Je vais me coucher, et peut-etre dormirai. 

(Removes his coat, places it on a seat, lies 
down, falls to sleep.) 

(Enter the GOOD FAIRY carrying a handsome 
velvet coat which she exchanges for the 
merchant's muddy one. She laughs si~ 
iO 



LA BELLE ET LA BETE 



lenity, waves her wand three times. A 
group of sprites appear. They dance a 
fantastic dance. All disappear as the 
merchant awakens.) 

the merchant (taking up the fine coat). 
Surely this palace belongs to some good fairy who 
has pitied my condition. 

Assurement, ce palais appartient a quelque 
bonne fee, qui a eu pitie de ma situation. 

(Looks out into the woods beyond.) 

There is no more rain, but arbours of flowers 
which enchant the sight. 

// n'y a plus de pluie, mais des berceaux de 
fleurs qui enchantent la vue. 

(Walks about, puts on the coat.) 

I thank you, Madam Fairy. 

Je vous remercie, Madame la Fee. 

(He picks up his staff preparatory to going. 
Pauses by bower of lovely roses.) 

I am going now, but see the roses! Beauty 
asked me for a rose. I shall pick one for her. 

Je m'en vais maintenant, mais voyez les roses/ 
Belle m'a demande une rose. J'en cueillerai une 
pour elle. 



BEAUTY AND THE BEAST 

{He picks a rose. A fearful uproar is 
heard, and the Beast lunges into the 
garden. ) 

THE beast. You are very ungrateful! I 
have saved your life by receiving you into my 
house, and for my trouble you steal my roses, 
that I love more than anything else in the world ! 

Vous etes bien ingrat! J e vous ai sauve la 
vie en vous rerevant dans man chateau, et, pour 
ma peine, vous me volez mes roses, que j'aime 
mieux que toutes choses au monde! 

THE merchant {quaking). My Lord, I beg 
your pardon — 

Monseigneur, pardonnez-moi — 

THE BEAST. You must die to atone for this 
error. I give you only fifteen minutes to ask 
pardon of God. 

// faut mourir pour reparer cette faute. Je 
ne vous donne qu'un quart d'heure pour demander 
pardon a Dieu. 

the merchant. My Lord, pardon me! I 
did not know that I would offend you in picking 
one rose. 

Monseigneur, pardonnez-moi! Je ne croyais 
pas vous offenser en cueillant une rose. 

the beast. Do not call me, " My Lord ! " I 
do not like compliments. For my part, I want 

12 



LA BELLE ET LA BETE 



people to say just what they think. So do not 
think that you can appeal to me with your flattery. 

Je ne m'appelle point " Monseigneur! " Je 
n* aime pas les compliments. Moi, je veux gn'on 
dise ce que Von pense. Ainsi, ne croyez pas me 
toucher par vos flatteries. 

the merchant. But, Mr. Beast, I did not 
know that I would offend you in picking one rose 
for one of my daughters who asked me for it. 

Mais, Monsieur Bete, je ne croyais pas vous 
ofenser en cueillant une rose pour une de mes 
filles qui m'en avait demande. 

the beast. One of your daughters! 

Une de vos filles! 

the merchant. Yes, it was Beauty, my 
youngest daughter. 

Oui, cetait Belle, ma file cadette. 

THE beast. I shall pardon you on condition 
that one of your daughters comes voluntarily to 
die in your place. 

Je veux bien vous pardonnez a condition qu'une 
de vos filles vienne volontairement pour mourir a 
voire place. 

the merchant. One of my daughters! 

Une de mes filles! 

THE beast. Do not argue with me. Go ! 
And if your daughters refuse to die for you, swear 
that you will return in three months. 

13 



BEAUTY AND THE BEAST 

Ne me raisonnez pas. Partez! Et si vos 
filles refusent de mottrir pour vous, jurez que 
vous reviendrez dans trots mois. 

THE merchant {aside) . At least I shall have 
the pleasure of embracing my children once more. 
(To THE beast.) I swear to return. 

Au mo'tns, fatirai le plaisir d'embrasser mes 
enfants encore une fois. Je jure de revenir. 

(Exit THE MERCHANT. THE BEAST looks 

after him.) 
the beast. One of his daughters ! 
Une de ses filles! 



curtain 



i"4 



SCENE II — Before the Merchant's House 

Time — The Next Evening 

( The garden setting of the beast's garden is 
hidden by screens. THE merchant's sons and 
daughters are posed against these screens at the 
rising of the curtain.) 

all (sing). Clear the Moon is Shining. 
Au Clair de la Lune. 

Clear the moon is shining, 
Friend Pierrot tonight, 
At the day's declining, 
I've no fire or light. 
Pen and paper lend me 
Just one word to write ; 
Pray you, do not send me, 
From your door tonight. 

Au clair de la lune, 
Mon ami Pierrot, 
Prete-moi ta plume, 
Pour ecrire un mot. 

15 



BEAUTY AND THE BEAST 

Ma chandelle est morte, 
Je riai plus de feu; 
Ouvre-moi ta porte, 
Je suis tres peureux. 

Clear the moon is shining, 
Pierrot shortly said: 
At the day's declining 
Straight I went to bed. 
Ask our pretty neighbor, 
She is still, I ween, 
Busy at her labor 
In her kitchen clean. 

Au cla'ir de la lune, 
Pierrot repondit: 
J e n'ai pas de plume, 
Je suis dans mon lit. 
V a chez la voisine, 
Je crois quelle y est, 
Car dans la cuisine, 
On bat le briquet. 

( They peer down the road. ) 

beauty. I do not see him yet. 
Je ne le vois pas encore. 

the first sister. Doubtless he will return 
soon. 

16 



LA BELLE ET LA BETE 



Sans doiite il reviendra bientot. 

the second sister. Who is coming there? 

Qui va laf 

beauty. It is father! 

C'est 7non peref 

(Exit la belle, running.) 
ALL (excitedly.) It is our father! 
C'est notre peref 

(Enter the merchant, leaning heavily on 
BEAUTY'S shoulder.) 

the first brother. You are welcome, 
father ! 

Sois le bienvenu, mon peref 

the second brother. You are welcome, 
father ! 

Sois le bienvenu, mon peref 

the third brother. You are welcome, 
father! 

Sois le bienvenu, mon peref 

the first sister. Have you brought my 
gown and scarf, father? 

As-tu apporte ma robe, et ma palatine, mon 
peref 

THE second sister. Have you brought my 
headdresses, and nick-nacks, father? 

As-tu apporte mes coiffures, et toutes sortes de 
bagatelles, mon peref 



BEAUTY AND THE BEAST 

THE MERCHANT {sinking to the ground). I 
have brought only the rose for Beauty ! 

Je n'ai apporte que la rose pour Belle! 

THE sisters. A rose for Beauty! 

Une rose pour Belief 

THE merchant (handing the rose to BEAUTY). 
Beauty, take this rose. It will cost your unfor- 
tunate father dearly! 

La Belle } prenez cette rose. Elle coutera bien 
cher a voire malheureux per el 

(Form of address used is " vous " instead of 
" tu " because the actors are under strong 
emotion.) 

BEAUTY (frightened.) What do you mean, 
father? 

Que voulez-vous dire, mon peref 

THE merchant (brokenly). Being lost, I 
went into the garden of a terrible monster. I 
picked a rose for Beauty. This angered the mon- 
ster, and he said that I must die unless one of my 
daughters would come voluntarily to die in my 
place. 

Moi perdu, j'allai dans le jardin d'un monstre 
terrible. Je cueillis une rose pour La Belle. 
Cela mit le monstre en colere, et il dit qu'il fallait 
que je mourusse, si une de mes filles ne venait pas 
voluntairement pour mourir a ma place. 

IS 



LA BELLE ET LA BETE 



THE THREE brothers. This is terrible ! 

C'est terrible! 

the first sister (wailing loudly). See what 
the pride of that little creature is causing! 

Voyez ce que produit Vorgueil de cette petite 
creature! 

THE SECOND SISTER (wailing more loudly). 
Why did she not ask for attire as we did? 

Que ne demandait-elle des ajustements com me 
nous? 

THE FIRST sister (wailing again). But no! 
The young lady wanted to distinguish herself! 

Mais, non! Mademoiselle voulait se distin- 
guer! 

THE SECOND SISTER (wailing again). She is 
going to cause the death of our father, and she is 
not crying! 

Elle va causer le mort de notre pere, et elle ne 
pi cure pas! 

BEAUTY (taking her father's hand, and assist- 
ing him to his feet) . That would be most useless. 
Why should I weep for the death of my father? 

Cela serait fort inutile. Pourquoi pleurerais-je 
la mort de mon pere? 

the FIRST sister. Why should you weep for 
the death of your father ! 

Pourquoi pleurerais-tu la mort de ton pere! 

THE second sister. Good heavens ! 
19 



BEAUTY AND THE BEAST 

Grand Dieul 

beauty. He shall not die ! 

// ne perira point! 

ALL. What do you mean? 

Que voulez-vous dire? 

beauty. Since the monster is willing to accept 
one of his daughters I am willing to deliver my- 
self to his fury, and I am very happy, since by 
dying I shall have the joy of saving my father, 
and of proving my affection for him. 

Puisque le monstre vent bien accepter line de 
ses piles, je veux me livrer a toute sa furie, et je 
me trouve forte hcureuse, puisqu'en mourant 
j'aiirai la joie de sauver mon pere et de lui prouver 

ma tendresse. 

-• 

the first brother {drawing his sword). 
No, my sister, you shall not die. 

Non, ma soeur, vous ne mourrez pas. 

THE SECOND brother {drawing his szvOrd) . 
No, my sister, we shall go and find this monster. 

Non, ma soeur, nous irons trouver ce monstre. 

THE third BROTHER {drawing his sword). 
No, my sister, we shall perish under his blows if 
we are not able to kill him. 

Non, my soeur, nous perirons sous ses coups si 
nous ne pouvons le tuer. 

the merchant. Do not hope for this, my 
children. The power of this beast is so great 

20 



LA BELLE ET LA BETE 



that there remains to me no hope of destroying 
him. 

Ne I'esperez pas, mes enfants. La puissance 
de cette Bete est si grande, qu'il ne me reste aucune 
esperance de la faire perir. 

( Turning to BEAUTY ) . I am delighted at your 
fine spirit, my daughter, but I cannot expose you 
to death. 

Je suis charmc de votre bon coeur, ma file, mats 
je ne veux pas vous expos er a la mort. 

BEAUTY (heroically). I assure you, father, 
that you shall not go to this palace without me. 
Yjou cannot prevent my following you. I prefer 
to be devoured by this monster than to die from 
the sorrow that your loss would cause me! 

Je vous assure, mon pere, que vous n'trez pas a 
ce palais sans moi. Vous ne pouvez m'empecher 
de vous suivre. Je prefere etre devouree par ce 
monstre que de mourir du chagrin que me donne- 
rait votre pertel 



CURTAIN 



21 



SCENE III — The Beast's Garden 

Time — Several Days Later 
(Soft music all through the scene. Enter THE 

MERCHANT, and BEAUTY.) 

the merchant. Here we are, my daughter, 
in the beast's garden. 

Nous void, ma fille, dans le jardin de la Bete. 

beauty {going to the table). See this table 
magnificently spread with two covers ! Let us 
sit down. 

Voyez cette table magnifiquement servie avec 
deux converts! Asscyons-nous. 

the merchant. I have not the heart to eat. 

Je n'ai pas le coeur de manger. 

(They sit at the table. THE MERCHANT 
bows his head, and refuses the food 
BEAUTY offers him. She pretends to eat. 
They hear a great roaring.) 

the merchant (weeping). Good-bye, sweet 
child ! It is the beast ! Farewell ! 

Adieu, ma douce enfant! C'est la Bete! 
Adieu! 

22 



LA BELLE ET LA BETE 



(They cling to each other. Enter THE 
BEAST.) 

THE BEAST (in terrible voice). Have you 
come willingly? 

Etes-vous venue de bon coeur? 

beauty (recovering bravely). Why, yes, I 
have come willingly. 

Mais, oui, je suis venue de bon coeur. 

THE beast. You are very good. I am much 
indebted to you ! 

V ous etes bien bonne. Je vous suis bien 
obligee! 

BEAUTY. I thank you, Mr. Beast. 

Je vous remercie, Monsieur le Bete. 

THE BEAST (to THE merchant) . Good man, 
leave at once, and never presume to return here. 
Good-bye. 

Bonhomme, partez tout de suite, et ne vous 
avisez jamais de revenir ici. Adieu. 

(Exit the MONSTER.) 

THE MERCHANT (sobbing aloud, and embrac- 
ing beauty). Ah! my daughter, I am half dead 
with fear! Listen to me, leave me here! 

Ah! ma fille, je suis a demi mort de frayeur! 
Croyez-moi, laissez-moi ici! 

beauty. No, father, you go. Leave me to 
the help of heaven. Perhaps it will pity me. 

23 



BEAUTY AND THE BEAST 

A on, mon pere, partez. Abandonnez-moi an 
secours de ciel. Peut-etre aura-t-il pitie de mo'i. 
the merchant. Good-bye, my child ! 
Adieu, mon enfant! 

(the merchant tears himself away from 
BEAUTY, and rushes from the room. 
When she can see him no longer she sits 
down and weeps.) 

BEAUTY. 1 must commend myself to God, for 
I fully believe that the Beast will eat me this eve- 
ning. 

77 faut me recommander a Dieu, car je crois 
fermement que la Bete me mangera ce soir. 

(She tiptoes about fearfully, touching a 
flower here and there. Finally she lies 
down on the couch, and falls asleep.) 

{Enter the GOOD fairy.) 

the GOOD fairy (waving her wand over 
BEAUTY). I am pleased with your fine courage, 
Beauty. The good deed that you have done in 
giving your life to save the life of your father 
shall not go unrewarded. 

Je suis contente de votre bon coeur, la Belle. 
La bonne action que vous faites en donnani votre 
vie pour sauver celle de votre pere ne demeurera 
point sans recompense. 

24 



LA BELLE ET LA BETE 



(She goes away, returns carrying a guitar, 
which she places on the table. Goes azvay 
again, returning with a placard which she 
hangs above beauty's couch. Again she 
brings a mirror, placing it on the table. 
She waves her wand three times. The 
SPRITES appear, and dance a fantastic- 
dance.) 

{Exit the good fairy and the sprites.) 

beauty (awakening). I have seen a beauti- 
ful lady in my sleep! What is that — a guitar 
— good ! 

J* at vu tine belle dame pendant mon sommeil! 
Qu'est-ce que c'est que ca — une guitar — Ires 
bienf 

(Takes up the guitar, strums on it. Sees 
the placard, reads it.) 

"Wish, command: Everything here is 
yours." 

" Souhaitez, commandez: Vous etes ici la 
dame et la maitresse." 

(In deep study.) If I had only a day to live 
here they would not have made such provision 
for me. 

Si je n'avais qu'un jour a demeurer ici, on ne 
m'aurait pas fait une telle provision. 

25 



BEAUTY AND THE BEAST 

(Sighs.) Alas! I wish for nothing except to 
see my poor father, and to know what he is doing 
now ! 

Helas! Je tie souhaite rien que de voir mon 
pauvre pere, et de savoir se qu'il fait a present! 
(Picks up mirror.) 

Wonderful ! I see my home where father, with 
a very sad countenance, has arrived! 

Merveilleux! Je vois ma maison, ou mon pere 
est arrive avec un visage extremement triste! 



CURTAIN 



26 



SCENE IV — The Beast's Garden 

Time — The Same Evening 

(beauty is sitting at the table eating her eve- 
ning meal. There is the frightful uproar that an- 
nounces the coming of the BEAST.) 

{Enter THE BEAST.) 

the beast. Will you consent to my watching 
you dine? 

V oulez-vous hien que je vous vote souperf 

BEAUTY (trembling) . You are the master. 

Vous etes le maitre. 

the beast. No, there is no mistress here ex- 
cept you. You have only to tell me to leave if 
I annoy you. I shall go at once. Tell me, don't 
you think that I am very ugly? 

Non, il n'y a id de mditress que vous. Vous 
n'avez qu'a me dire de m'en aller, si je vous en- 
nuie. Je sortirai toute de suite. Dites-moi, 
n'est-ce pas que vous me trouvez bien laid? 

beauty. That is true, for I do not know how 
to lie. But I think that you are very good. 

Cela est vrai, cas je ne sais pas mentir. Mais 
je crois que vous etes fort bon. 

27 



BEAUTY AND THE BEAST 

the beast. You are right. Eat then, Beauty, 
and try not to be bored in your house. 

Vous avez raison. Mangez done, la Belle, et 
tachez de ne vous point ennuyer dans voire maison. 

beauty. You are indeed kind! 

Vous avez bien de la bonte! 

THE BEAST. Oh ! Well, yes, I may have a 
good heart, but 1 am a monster. 

Oh! Dame, out, fax le coeur bon, mats je suis 
un monstre. 

beauty (with enthusiasm) . There are many 
men who are more monstrous than you. 

II y a bien des hommes qui sunt plus monstres 
que vous. 

the beast. All that I can say is that I am 
deeply gratified ! 

Tout ee que je puis vous dire e'est que je vous 
suis bien oblige. 

( They are silent for a time. BEAUTY goes 
on with her dinner.) 

THE BEAST {suddenly). Oh, Beauty, if only 
you would be my wife ! 

La Belle, voulez-vous etre me femmef 

BEAUTY (frightened, springing to her feet). 
No, Mr. Beast! 

Non, Monsieur La Bete! 

28 



LA BELLE ET LA BETE 



THE BEAST {sighing until the garden re-echoed, 
says the story.) Good-bye then, Beauty. 
Adieu done, La Belle. 

{Exit THE BEAST.) 

BEAUTY {touched by the grief of the beast). 
Alas! It is a great pity that this monster is so 
ugly. He is so good! 

Helas! C'est bien dommage que ce monstre 
soit si laid — il est si bon! 



CURTAIN 



2 9 



SCENE V — The Beast's Garden 
Time — Three months later 

(beauty, arrayed in a beautiful gown, is sitting 
on the garden seat. With one hand she is holding 
her guitar, with the other she is stroking the head 
of THE BEAST, who is lying at her feet.) 

THE BEAST {sitting up on his haunches.) 
Beauty, will you be my wife? 

La Belle, voulez-vous etre ma femme? 

beauty. You grieve me, Beast ! 

Vous me chagrinez, La Bete! 

THE BEAST. Why? 

Pourquoif 

beauty. I wish I might be able to marry you, 
but I am too sincere to lead you to believe that 
that can ever happen. I shall always be your 
friend. Try to content yourself with that. 

Je voudrais pouvoir vous epouser, mais je suis 
trop sincere pour vous faire croir que cela arrivera 
jamais. Je serais toujours votre amie. Tdchez 
de vous contenter de cela. 

the beast. It must be so ! I know that I am 
horrible — but I love you very much. 

30 



LA BELLE ET LA BETE 



II le fant bien! Je sais que je suis bien horrible, 
mats je vous aime beaucoitp. 

beauty. I shall always be your friend. Try 
to content yourself with that. 

Je serais toujours votre amie. Tdchez de vous 
contenter de cela. 

the beast. Promise me that you will never 
leave me. 

Promettez-moi que vous ne me quitter ez jamais. 

BEAUTY (picking up the mirror, and showing 
THE beast the picture reflected there). See my 
house, and my father! 

Voyez ma maison, et mon perel 

THE BEAST. Yes ! 

Qui! 

beauty. I have so great a desire to see my 
father again that I shall die of grief if you refuse 
me this pleasure ! 

J'ai tant d'envie de revoir mon pere que je mour- 
rai de douleur si vous me refuser ce plaisir! 

the beast. I had rather die myself than to 
cause you grief. 

J* aime mieux mourir moi-meme que de vous 
donner du chagrin. 

beauty. Good monster! 
Mon bon monstre! 

THE beast (sadly) . I will send you back to 
31 



BEAUTY AND THE BEAST 

the home of your father. You shall remain there, 
and your Beast will die of sadness. 

Je vous enverrai chez votre pere. Vous y f 
resterez, et votre Bete en mourra de douleur. 

beauty. No! I love you to much to wish 
to cause your death! 

Non! Je vous alme trop pour vouloir causer 
voire mort/ 

the beast. You love me — 

Vous m'aimez — 

beauty. I promise to return in eight days! 

Je promets de revenir dans huit jours ! 

the beast. In eight days — 

Dans huit jours — 

beauty {again consulting the mirror). My 
sisters are married, and my brothers have gone 
into the army. My father is all alone. 

Ales soeurs sont mariees, et mes freres sont 
partis pour I'armee. Mon pere est tout seul. 

the beast. You shall be there in the morn- 
ing, but remember your promise. 

Vous y serez demain au matin, mais souvenez- 
vous de votre promesse. 

beauty {happily). I shall remember! 

Je m'en souviendrai! 

{Exit beauty.) 



32 



LA BELLE ET LA BETE 



THE BEAST {in great sadness). Farewell, my 
Beauty! 

A u revoir, ma Belle! 



CURTAIN 



33 



SCENE IV — The Beast's Garden 
Time — Ten Days Later 

( BEAUT V, persuaded by her sisters, has out staid 
her time at the home of her father. The stage is 
in shadow. THE beast is lying at full length be- 
hind a clump of shrubbery, toward the front, and 
to the side of the stage.) 

the beast. She has forgotten her promise. 
She promised to return in eight days. Ten days 
have passed. She will never return. I must die ! 

Elle a oublie sa promesse. Elle m'a promis de 
revenir dans huit jours, Dix jours se sont passes. 
Elle ne reviendra jamais. II faut mourirl 

{Becomes unconscious, says the story. En- 
ter BEAUTY.) 

beauty. He is not here ! Am I not ungrate- 
ful to cause sorrow to a monster that has so much 
consideration for me ! 

// n'est pas icif Ne suis-je pas bien mechante 
de causer du chagrin a un monstre qui a pour moi 
tant de complaisance! 

34 



LA BELLE ET LA BETE 



{ Throws of her cloak, and sits dejectedly on 
the garden seat.) 

He is good, and that is worth more than all the 
rest. 

77 est bon, et cela vaut mieux que tout le reste. 

{Begins to look about the garden.) 

Beast, Beast, where are you? I'm afraid that 
I have caused his death — I am in despair! 
Beast, Beast, where are you? 

La Bete, La Bete, bu etes-vousf Je crains 
d' avoir cause sa mort — je suis au desespoir! La 
Bete, la Bete, oil etes-vousf 

(Sees her mirror on the table. Snatches it 
up, turns it.) 
There he is! Mercy! He is dead! 
Le voila! Mon Dieuf II est mort! 

( Throws herself beside him without fear or 
horror of his beastly form, says the story. 
Then runs and gets some water which she 
sprinkles on his head.) 

the beast {opening his eyes). You forgot 
your promise! 

Vous avez oublic votre promessef 
BEAUTY. I am so, so sorry! 
35 



BEAUTY AND THE BEAST 



J ' c suis fdchee, desolee! 

THE beast. The grief of having lost you has 
made me determine to die of starvation. But I 
have seen you again. I die happy. 

he chagrin de vous avoir perdue m'a fait 
resoudre a me laisser mourir de faim. Mais )e 
meurs content, puisque j'ai le plaisir de vous re- 
voir encore une fois. 

BEAUTY. No, no, dear Beast, you shall not 
die ! You shall live to become my husband ! 

Non, non, ma chere Bete, vous ne mourrez 
point/ Vous vivrez pour devour mon e'pouxl 

(Exit beast. At beauty's last words 
everything is brilliantly lighted up. She 
turns quickly, and looks toward the palace. 
Soft strains of music.) 

beauty. See the castle brilliant with lights! 
And music ! 

Voyez le chateau brillant de lumieres. Et la 
musique! 

(Enter THE BEAST, now the king, the 
king has been transformed from THE 
beast to himself.) 

the king. My Beauty! (Holding out his 
hands to her.) 

36 



LA BELLE ET LA BETE 



Ma Belle! 

beauty. Oh! How-do-you-do, Sir! Where 
is my poor Beast? 

Oh! Bonjour, Monsieur! Oil est ma pauvre 
Bete? 

the king {kneeling at her feet). You see 
him at your feet ! 

Vous la voyez a vos pieds! 

beauty. You, you the Beast! 

Vous, vous la Bete! 

the king {arising) . Yes, I was the Beast, my 
Beauty. An evil fairy sentenced me to remain 
in that form until a beautiful girl would consent 
to marry me. 

Out, fetais la Bete, ma Belle, line mechanic 
fee m'avait condamne a rester sous cette figure 
jusqu'a ce qu'une belle file consentit a m'epouser. 

beauty. I am so happy! 

Je suis si heureuse! 

THE king. Thus, there was only you in all 
the world good enough to allow yourself to be 
touched by my good character, and in offering you 
my crown {placing crown on her head), I am not 
able to acquit myself of the obligations that I owe 

you! 

Ainsi, il riy avail que vous dans le monde assez 
bonne pour vous laisser toucher a la bonte de mon 
caractere, et en vous of rant ma couronne, je ne 

37 



BEAUTY AND THE BEAST 

puis m'acqititter des obligations que je vous all 

(Music louder.) 

[Enter the GOOD FAIRY and her SPRITES 
bringing in the merchant and his sons 
and daughters, beauty greets them 
with the proper eclat.) 

THE GOOD fairy (leading BEAUTY and the king 
toward the front). Beauty, come and receive 
the reward for your good choice. You have pre- 
ferred virtue to beauty and to wit. You deserve 
to find these qualities united in a single person. 
You are going to become a great queen ! 

Belle, venez recevoir la recompense de voire 
bon choix. Vous avez prefere la vertu a la beattte 
el a V esprit. Vous meritez de trouver toutes ces 
qualites reunies en une settle personne. Vous allez 
devenir une grande reine! 

the king ET al. (bowing to beauty). Long 
live Beauty, long live the queen ! 

Vive la Belle, vive la Reine! 

(Music — grand ?narch.) 

(All join in march led by THE MERCHANT 
and the good fairy, beauty and the 
KING following, the brothers and SISTERS 
and SPRITES bringing up the rear. ) 

CURTAIN 
38 



Unusually Good Entertainments 

Read One or More o£ These Before Deciding on 
Your Next Program 

GRADUATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in Two Acts, by Ward Macauley. For six 
males and four females, with several minor parts. Time of 
playing, two hours. Modern costumes. Simple interior scenes;, 
may be presented in a hall without scenery. The unusual comJ 
fcination of a real "entertainment," including music, recitations,' 
etc., with an interesting love story. The graduation exercises 
include short speeches, recitations, songs, funny interruptions, 
and a comical speech by a country school trustee. 

EXAMINATION DAY AT WOOD HILL SCHOOL. 

An Entertainment in One Act, by Ward Macauley. Eight malo 
and six female characters, with minor parts. Plays one hour. 
Scene, an easy interior, or may be given without scenery. Cos- 
tumes, modern. Miss Marks, the teacher, refuses to marry a 
trustee, who threatens to discharge her. The examination in- 
cludes recitations and songs, and brings out many funny answers 
to questions. At the close Robert Coleman, an old lover, claims 
the teacher. Very easy and very effective. 

BACK TO THE COUNTRY STORE. A Rural Enter- 
tainment in Three Acts, by Ward Macauley. For four male 
and five female characters, with some supers. Time, two hours. 
Two scenes, both easy interiors. Can be played effectively with- 
out scenery. Costumes, modern. All the principal parts are 
sure hits. Quigley Higginbotham, known as "Quig," a clerk in 
a country store, aspires to be a great author or singer and 
decides to try his fortunes in New York. The last scene is in 
Quig's home. He returns a failure but is offered a partnership 
in the country store. He pops the question in the midst of a 
surprise party given in his honor. Easy to do and very funny. 

THE DISTRICT CONVENTION. A Farcical Sketch 
in One Act, by Frank Dumont. For eleven males and one 
female, or twelve males. Any number of other parts or super- 
numeraries may be added. Plays forty-five minutes. No special 
scenery is required, and the costumes and properties are all 
easy. The play shows an uproarious political nominating con- 
vention. The climax comes when a woman's rights cham- 
pion, captures the convention. There is a great chance to bur- 
lesque modern politics and to work in local gags. Every 
part will make a hit. 

SI SLOCUM'S COUNTRY STORE. An Entertainment 
in One Act, by Frank Dumont. Eleven male and five female 
characters with supernumeraries. Several parts may be doubled. 
Plays one hour. Interior scene, or may be played without set 
scenery. Costumes, modern. The rehearsal for an entertain- 
ment in the village church gives plenty of opportunity for 
specialty work. A very jolly entertainment of the sort adapted 
to almost any place or occasion. 

THE PENN PUBLISHING COMPANY 
PHILADOJPHIA. 



Read One or More of These Before Deciding on 
Your Next Program 

A SURPRISE PARTY AT BRINKLEY'S. An En- 
tertainment in One Scene, by Ward Macauley. Seven male and 
seven female characters. Interior scene, or may be given with- 
out scenery. Costumes, modern. Time, one hour. By the 
author of the popular successes, "Graduation Day at Wood Hill 
School," "Back to the Country Store," etc. The villagers have 
planned a birthday surprise party for Mary Brinkley, recently 
graduated from college. They all join in jolly games, songs, 
conundrums, etc., and Mary becomes engaged, which surprises 
*he surprisers. The entertainment is a sure success. 

JONES VS. JINKS. A Mock Trial in One Act, by 
Edward Mumford. Fifteen male and six female characters, with 
supernumeraries if desired. May be played all male. Many of the 
parts (members of the jury, etc.) are small. Scene, a simple 
interior ; may be played without scenery. Costumes, modern. 
Time of playing, one hour. This mock trial has many novel 
features, unusual characters and quick action. Nearly every 
character has a funny entrance and laughable lines. There are 
many rich parts, and fast fun throughout. 

THE SIGHT-SEEING CAR. A Comedy Sketch in One 
Act, by Ernest M. Gould. For seven males, two females, or 
may be all male. Parts may be doubled, with quick changes, so 
that four persons may play the sketch. Time, forty-five minutes. 
Simple street scene. Costumes, modern. The superintendent 
of a sight-seeing automobile engages f » men to run the 
machine. A Jew, a farmer, a fat lady a^ * other humorous 
characters give them all kinds of trouble, This is a regular gat- 
ling-gun stream of rollicking repartee. 

THE CASE OF SMYTHE VS. SMITH. An Original 
Mock Trial in One Act, by Frank Dumont. Eighteen males 
and two females, or may be all male. Plays about one hour. 
Scene, a county courtroom ; requires no scenery ; may be played 
in an ordinary hall. Costumes, modern. This entertainment is 
nearly perfect of its kind, and a sure success. It can be easily 
produced in any place or on any occasion, and provides almost 
any number of good parts. 

THE OLD MAIDS' ASSOCIATION. A Farcical Enter- 
tainment in One Act, by Louise Latham Wilson. For thirteen 
females and one male. The male part may be played by a 
female, and the number of characters increased to twenty or^ 
more. Time, forty minutes. The play requires neither scenery) 
nor properties, and very little in the way of costumes. Can 
easily be prepared in one or two rehearsals. 

BARGAIN DAY AT BLOOMSTEIN'S. A Farcical 
Entertainment in One Act, by Edward Mumford. For five males 
and ten females, with supers. Interior scene. Costumes, mod- 
ern. Time, thirty minutes. The characters and the situations 
which arise from their endeavors to buy and sell make rapid-fir? 
fun from start to finish. 

THE PENN PUBLISHING COMPANY 
PHILADELPHIA 



Successful Plays for All Girls 

In Selecting Your Next Play Do Not Overlook This List 

YOUNG DOCTOR DEVINE. A Farce in Twe Acts, 
by Mrs. E. J. H. Goodfellow. One of the most populai 
plays for girls. For nine female characters. Time in 
playing, thirty minutes. Scenery, ordinary interior. Mod 
em costumes. Girls in a boarding-school, learning that a 
young doctor is coming to vaccinate all the pupils, eagerly con- 
sult each other as to the manner of fascinating the physician. 
When the doctor appears upon the scene the pupils discover that 
the physician is a female practitioner. 

SISTER MASONS. A Burlesque in One Act, by Frank 
Dumont. For eleven females. Time, thirty minutes. Costumes, 
fantastic gowns, or dominoes. Scene, interior. A grand expose 
of Masonry. Some women profess to learn the secrets of a 
Masonic lodge by hearing their husbands talk in their sleep 
and they institute a similar organization. 

A COMMANDING POSITION. A Farcical Enter 
tainment, by Amelia Sanford. For seven female char- 
acters and ten or more other ladies and children. Time, one 
hour. Costumes, modern. Scenes, easy interiors and one street 
scene. Marian Young gets tired living with her aunt, Miss 
Skinflint. She decides to "attain a commanding position " 
Marian tries hospital nursing, college settlement work and 
school teaching, but decides to go back to housework. 

HOW A WOMAN KEEPS A SECRET. A Comedy 
in One Act, by Frank Dumont. For ten female characters 
Time, half an hour. Scene, an easy interior. Costumes, modern, 
Mabel Sweetly has just become engaged to Harold, but it's "the 
deepest kind of a secret." Before announcing it they must win 
the approval of Harold's uncle, now in Europe, or lose a possible 
ten thousand a year. At a tea Mabel meets her dearest friend 
Maude sees Mabel has a secret, she coaxes and Mabel tells her 
But Maude lets out the secret in a few minutes to another 
friend and so the secret travels. 

THE OXFORD AFFAIR. A Comedy in Three Acts, 
by Josephine H. Cobb and Jennie E. Paine. For eight female 
characters. Plays one hour and three-quarters. Scenes, inter 
iors at a seaside hotel. Costumes, modern. The action of the 
play is located at a summer resort. Alice Graham, in order i 
chaperon herself, poses as a widow, and Miss Oxford first claims 
her as a sister-in-law, then denounces her. The onerous duties 
of Miss Oxford, who attempts to serve as chaperon to Mies 
Howe and Miss Ashton in the face of many obstacles, furnifb 
an evening of rare enjoyment. 

THE PENN PUBLISHING COMPANY 

PHILADELPHIA 



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